inspiration

Have you read Dean Nimmer’s book Art from Intuition?

I met Dean at Art New England and what a pleasure to meet such a happy guy. His class was called the 100 Drawing Challenge.

His students made stuff! Lots of Stuff. It was all about the process of making.

Studio at Art New England

Student work – Dean Nimmer – instructor – ART New England

Dean Nimmer – work in progress at ART New England

I was inspired by this philosophy of making. I checked out the book from my local library, and I am jump starting my process with some of the exercises.

Prints of Discovery – part of the process

So often we can get caught up in the print needing to be something,

• be good,
• be sellable or
• be something other than what it is.

I think this can be especially challenging for printmakers because often things can not be undone. With a painting you can paint over a mistake, or with a photo you can take another shot.

Experimenting with mark making tools

This is one reason why I like the term mixed media printmaker. It opens the process up to drawing, collaging, painting and more. I think it creates a freedom to explore the printmaking process with fresh eyes and endless possibilities.

A Challenge for You

• Separate the making from the judgmental critiquing for a week
• Set up your space with inexpensive supplies to create a sense of freedom
• And Make stuff in your own process
• Thinking and the critical voice will come up, but notice the voice and let it go.
• Then several days later, lay out your work and admire it.
• Look for things you like, things you discovered, things that you want to expand on.

I bet this process will feed your practice and take your art making to new heights.

If you would like to explore soft plate relief printing with this kind of attitude, then you are in luck. The online printmaking class starts soon. You still have time to join us.

Check out the full description, supplies and FAQ’s here.

 

It became clear to me that I hit what I focus on, especially while bicycling on a gravel strewn road.

Monotype print with Akua Inks based on a cast shadow while cycling.

Every time I stared at the rock that I did not want to hit, I hit it! And when I focused on the space around the rock, then I went around the rock. Hmmm?

I thought this was a very cool revelation. Of course we know all the goal setting and self help books talk about focus, but I got to experience the powerful effect of focus instantly.

Soft plate relief prints in process.

For example, as a worked by these prints there was a lot that I did not like. Things were just not coming together. I was not super happy about the colors and shapes.

But I did like:

• the lighter ghost impressions,
• light orange and yellow
• some of the dark squares
• simplicity of some of the prints

I was able to piece it together and come up with a print that I like.

I suggest you try it and see if you “hit” what you are focusing on.

For example:

• In your art making, are you looking at what is wrong and what is not working? Does that same problem keep showing up in your work? Experiment and try focusing on what is working in your prints and see if anything changes.
• Or try the bicycling and rocks experiment. See if changing your focus changes anything.

If you would like to explore soft plate relief printing, like the prints above, then check out the details on the printmaking workshop page. Class starts August 7th.

I just finished a week of printmaking with Akua inks and Susan Rostow the inventor of the non-toxic inks, at ART New England.

1. Take in a museum or gallery on the way, if you can. It gets you inspired to expand your horizons.

I enjoyed Mass MoCA and Sol Lewitt on my way to ART New England.

2. Bring less than you think you need and make it work. As I packed my tools, I gathered what I thought I could use and brought about 1/2 of it. It fit in one bag and a folder for paper.

3. Have a goal and be open to it changing. I wanted to get a better understanding of the Akua Inks and hoped to work them into my practice. And I wanted to play with dimensional monotypes. I definitely have a better understanding of how to ink the intaglio plate and the monotype plates, I will continue to explore the inks.

I had fun making a drypoint sampler plate and then made it into a single sheet book form.

4. Use powder to keep the soft rubber brayers from getting tacky.

5. Notice the tools and studio layout. See if you can bring any new ideas home to your studio.

I liked working on big slabs of glass. I think I could recycle a window and make a smaller and portable version.

6. Ask for help. And be willing to learn from mistakes.

We often had a few hours of demonstrations to start the day. And when it came time to ink the plate or work the press or choose an ink I had forgotten some of the procedures. And Susan and her assistant Christina were always willing to refresh my memory. I did not have to be the perfect student with a perfect memory.

7. Working with a press takes, time, planning and patience. It may not be my style of working.

We were so lucky. We had 3 presses to use and 8 people in the class. There was no line and a press was always available. The beauty of Akua inks is that they stay open and wet for a very long time. They only dry when they are absorbed into the paper.

8. Find time to be alone and recharge.

I found several quiet meditation spots that allowed me to slow down and get still, so I could go back to class refreshed and ready to work.

9. Treat your gloves like your hands.

Susan challenged us to use one pair of gloves for the whole week. Well I did not meet the challenge, but I was able to work much cleaner than I ever have when doing intaglio printing. Susan showed us how to apply the intaglio ink with the brayer, which worked really well for me.

10. Learn from other students and teachers.

I was inspired by the energy and expression of the artist and teacher Julie Leonard. She inspired me to seek out some Sumi ink and play with painting with them.

I found lots of sculptures as I wondered the campus.

I am thinking that I will not wait a whole year for another art intensive. I think it would be great to do something quarterly. Maybe not a week long program, but I am hoping to attend some weekend classes that are closer to home.

I made may way to North Adams and took in the exhibits at Mass MoCA. Here are a few images.

The old mill buildings have amazing rich history.

Enjoy 3 floors of Sol LeWitt

Part of Seffani Jamison – Plant you Now, Dig You Later

I just love the bricks and shadows.

Robert Rauschenberg

Louise Bourgeois

Seating at Mass MoCA

So much to see. Not enough time. Check out the Mass MoCA info here.

Here in New England we are experiencing a rainy Mother’s Day. It is disappointing for some. Does it have to be?

But we could just roll with it and embrace the things that we can not change. Could you?

• Notice how it is turning everything green and lush
• Jump in puddles with your grandkids
• Photograph the reflections in the puddles
• Close your eyes and listen to the rain

Being with the rain creates opportunity to feed your art practice.

I always get ideas for:

1. Patterns
2. Shaped stencils and
3. Layered images

If you would like to give yourself a mother’s day gift and start to let your environment feed your art practice, then join us in the 4 week gelatin printmaking course that starts tomorrow – Make Monotypes. Read the details on the printmaking workshop page.